November 5, 2012

In August of 1979, a situation comedy about a middle-aged woman who served as a sort of den mother for a quartet of rambunctious boarding school girls debuted on Friday night, in the 8:30PM time slot.

No, it wasn’t The Facts of Life. It was Dorothy.

Although the “summer tryout” was and remains an unusual method of launching a series, the networks that year, in their boundless imagination, used it to test-launch two nearly identical shows in the same month. The Facts of Life, on NBC, became a modest but long-running hit that lasted for seven seasons and enjoyed a strong syndicated afterlife. Dorothy, on CBS, vanished into obscurity after its initial batch of four episodes were broadcast.

The Facts of Life (which actually featured seven girls at the outset, pared down to four a year later) starred Charlotte Rae as the teacher / surrogate mother figure. Dorothy was named after its star, Dorothy Loudon. Both Rae and Dorothy Loudon were Broadway veterans – they knew each other, had vied for some of the same roles – but while Rae had become familiar on television as a character comedienne, playing regular parts on Car 54, Where Are You? and Diff’rent Strokes (from which The Facts of Life was a spin-off), Loudon was a pure theatre performer. She had made a brief splash on television in the early sixties, taking Carol Burnett’s comedy-and-songs slot on The Garry Moore Show, but before and after that Loudon stuck mainly to nightclubs and the stage. After fifteen years as a sort of Susan Lucci of Broadway, consistently earning the best reviews in a series of high-profile flops, Loudon had won a Tony Award in 1977 for her role as Miss Hannigan, the conniving head of the orphanage, in Annie.

Dorothy was a classic high-concept “package,” a Hollywood entertainment that attemped to fuse disparate but proven elements. Often those packages are assembled by agents, trying to get jobs for several clients at once, but Dorothy was the brainchild of a Warner Bros. executive named Alan Shayne. A former casting director (for East Side/West Side and N.Y.P.D.), Shayne had seen Loudon in Annie and thought she would be a natural to headline her own series. Even though Miss Hannigan was the villain of Annie, and not at all enthusiastic about little girls, it made sense to exploit the connection to the hit show by placing Loudon in a similar setting. Separately, Shayne was also taken with Linda Manz, the teenaged actress who had played Richard Gere’s sister in Days of Heaven (1978) and whose thick Brooklynese provided the film’s unusual narration. Manz (below) would play the most prominent of the girls featured in Dorothy, a tough-talking tomboy very similar to Jo (Nancy McKeon), a character added to The Facts of Life in its second season.

The third element that informed the construction of Dorothy was Alice, the blue-collar Linda Lavin sitcom that was at the time Warner Bros.’ most successful television property. Shayne, as the studio’s executive vice president in charge of television, oversaw Alice and drafted its executive producers, former Lucy writers Madelyn Pugh Davis and Bob Carroll Jr., to develop Dorothy. “They were my mainstays,” Shayne said in a recent interview. “They would, in a pinch, always save any show that was in danger.” The premise devised by Carroll and Davis – who shared a creator credit with Nick Arnold, a name that was not mentioned in publicity for the show and that Shayne could not recall – had Loudon playing Dorothy Banks, a former showgirl reduced to teaching music and drama at a run-down private school.

To direct, Shayne hired television’s top comedy director, John Rich (The Dick Van Dyke Show; All in the Family). Though Rich was been a director on Alice, Shayne had awarded the famed pilot director a royalty for every future episode of the show in order to screen the uneven early episodes and suggest some critical changes. (Alice ran for eight seasons and Rich probably earned more from a few hours’ work than some directors make in a whole career.)

With all those heavyweights involved, how did Dorothy turn into such a massive flop – grotesque and all but unwatchable even by the middling-at-best standards of lowbrow fare like Alice or The Facts of Life?

One clue may be in the chronology. Loudon committed to the Warner Bros. Television deal in 1977 or 1978, while she was still in the cast of Annie, but the show had to wait once Loudon committed to star first in Ballroom – a musical adaptation of the made-for-television movie Queen of the Stardust Ballroom – on Broadway. Only after Ballroom closed, earlier than expected, on March 24, 1979, did Loudon go to Los Angeles for Dorothy, and only then did “format and script work” commence on the series.

Loudon’s limited availability boxed the entirety of conception, writing, casting, and taping into a period of just over four months. Little wonder, then, that Manz’s character made no sense – she looked and spoke like a street urchin, but had a vaguely identified patron whose charity kept the school from closing, and therefore from expelling her – or that the other principal girls were barely developed beyond the teen-Charlie’s Angels stereotypes of blonde (Elissa Leeds), brunette (Michele Greene), and nerd (Susan Brecht). Shayne cast another broadway star, Russell Nype (Call Me Madam), as the spineless headmaster, but Nype seemed stiff and ill at ease, while the two actors who played Dorothy’s fellow teachers – Priscilla Morrill (French) and Kenneth “Kip” Gilman (biology) – were shrill and overbearing.

The process of casting Gilman was an example of the haste that went into assembling Dorothy. Davis and Carroll remembered him from Loves Me, Loves Me Not, a short-lived sitcom with Susan Dey, and hired Gilman without a formal audition. “The two of them were just the sweetest people in the world,” Gilman recalled. “They basically were saying, well, you’ve got the role, do you want to do this? They had a piano in their office, and just out of the enthusiasm of the meeting, I sat down and started fooling around, and I think that’s maybe where they got the idea that I might also be able to do some musical stuff with Dorothy. I don’t think they had that in mind originally, because I was the science teacher.”

To write the four episodes, Davis and Carroll assembled three pairs of comedy writers: themselves; Rick Hawkins and Liz Sage (The Carol Burnett Show); and Vic Rauseo and Linda Morris (Welcome Back, Kotter). All but Davis and Carroll were relatively new to the business, but the most of the jokes could have been pilfered from Buddy Sorrell’s gag file. (Some examples: “While our students were looking at fish, Mimi and I were going to make a few waves!” “You shouldn’t be intimidated by Mr. Foley just because he’s headmonster … er, headmaster.”)

Loudon hinted at conflicts with the writers when she did publicity for the series, telling one journalist that she’d had to show them clips of her appearances on the Tony Awards broadcasts as a guide to the kind of material she could do. According to associate director Gary Shimokawa, Loudon clashed with the writing staff – “I think she just didn’t think they wrote to her, wrote enough to what she could do” – but found an ally in Rich (now earning his Alice windfall, it would seem). “I think John managed to keep her together on that, and she trusted him. He was a big personality as a director, and so I think that helped a lot,” said Shimokawa.

Even Gilman (below, with Loudon), who was inclined to focus on the positive and who sidestepped most of Dorothy’s behind-the-scenes conflicts, spoke out about the scripts:

Even though I was having fun with it, I [wanted] it to be a little bit more subtle and not as much on the nose. I remember saying something to John Rich, and I think Dorothy might have felt the same to some degree, that I felt that somehow we were doing like a radio show, where some of the jokes were – they had some crust on them. They were a little old. And John’s response to that, as the director, he said, “Well, you’ve got to understand, Kip, this is television, and these [gags] are like old friends!”

Since Loudon’s claim to fame was as a musical comedy star, one element that Rich had deep-sixed from Alice became central to Dorothy: an abbreviated but showy song or two in every episode. In the four produced episodes Loudon performed “There’ll Be Some Changes Made,” “Hard Hearted Hannah” (with Gilman), “Strike Up the Band,” “Keep Your Sunny Side Up,” and Gilbert and Sullivan’s “I Am the Monarch of the Sea” (with the girls). The selections were probably made by Loudon, who had used some of them in her nightclub act. “Changes” was one of two songs she had performed in a 1946 audition for the talent agency MCA that had launched her professionally, and she once described singing “Hannah” “on top of a piano in a bar in Troy, New York” as the worst job of her life. Loudon also performed Dorothy’s title tune, which was written by Bill Dyer and the distinguished film and television composer Billy Goldenberg (Duel; Columbo), who probably got involved because he had made his Broadway debut with the score for Ballroom.

The songs were arguably the show’s main draw but they created a plausibility problem, as Alan Shayne pointed out:

When we did Alice, we did a couple [of episodes] and it was a bomb. I mean, it wasn’t going at all, I thought, and one of the things John Rich said was – at that point, Linda Lavin was going to sing a number in each show – and one of the things he said was, “Let her sing on somebody else’s show, but not on Alice, because she seems like a loser. If she sings great, what is she doing as a waitress?”

Well, in a similar way, with Dorothy, it was more about her being a performer, and when she did her number, you kind of thought, “Why is she in this girls’ school?” But I loved her performing. I must say, I loved her when she sang.

But Shayne’s hoped-for successor to Alice died on arrival. “It simply didn’t work,” he said recently. What no one had told Shayne was something that the company of Annie had discovered very quickly: that Loudon, in the words of the show’s composer Charles Strouse, “really, genuinely, sincerely, hated children . . . . She was very ill-natured, in that respect.” Loudon would shoo away not only the many little girls in the show’s cast but also the dog, Sandy, whom she also despised. Doubtless she was less than thrilled that, in her bid for more widespread recognition, the baggage of Annie made youngsters an unavoidable part of the package.

While Loudon’s pedophobia might have been perfect for the larger-than-life hostility of Miss Hannigan, it couldn’t work for a den-mother sister to Mrs. Garrett. “Dorothy really didn’t like the kids, I don’t think,” Shayne said. “And although she was at war with the kids, you had to feel that she also loved them. That didn’t really work. Dotty was a tough lady, you know. She had a lot of hostility.” Loudon’s husband, a television arranger and composer named Norman Paris, had died unexpectedly just six weeks after she won the Tony for Annie, upending her personal life just as she reached her professional peak.

Kip Gilman also observed Loudon’s discomfort around her young co-stars, and thought that Manz – a casting director’s off-the-streets discovery whose experience up to that point had been limited to Terrence Malick’s highly idiosyncratic style of moviemaking – was especially ill-at-ease with the demands of performing comedic material in front of a live audience. Gilman suggested that, as a consequence of all that, the other three episodes may have been altered to reduce the girls’ roles and build up the screen time of the (still underdeveloped) faculty characters.

That was a miscalculation, since the juveniles were more appealing than any of the adults on display. The closest Dorothy came to being any good was in the premiere episode (it was the second one taped), “The Bookworm Turns.” Loudon was less manic in this one than in the other three, and it ends with a sweet moment in which she consoles her gawkiest charge (the appealing Susan Brecht, above) over an unrequited crush on Gilman’s character, Mr. Landis (also a totally implausible romantic interest for Loudon, who was old enough to be Gilman’s mother).

When Dorothy premiered on August 8, the publicity marked it as a lame duck. Loudon hemmed and hawed over whether she really wanted to do television or move to Los Angeles, all but publicly apologized for the writing, and suggested that if the show were renewed, the school setting might be dumped, and her character could make a return to the stage. But the reviews were surprisingly kind. Kay Gardella of the New York Daily News compared the show unfavorably to Our Miss Brooks but felt that “[s]till Loudon is a welcome addition to television.” Variety hedged: “Loudon was forced to work awfully hard for the laughs she got – but the point is, she got them.” Jerry Krupnick of The Star-Ledger wrote that “[t]he plot is ordinary, the rest of the cast is merely competent, but Dorothy Loudon is sensational.”

Only later, after the show was safely buried, did the knives come out. “Dorothy, you may recall … was a total disaster,” was how Krupnick reversed himself in 1983. “It was loud, frantic, senseless, unfunny – with Dorothy reduced to a desperate series of leers and triple takes.” On her website, Michele Greene (the only one of the four girls to have a durable career as an actress) calls the show “horribly idiotic.” Loudon herself must have realized, from the first moment she saw herself on screen, that no one had succeeded in scaling down her broad, stagy style. In later years, she told interviewers about a mortifying premiere party that she spent sitting in a corner, drinking wine. “Thank goodness nobody saw [Dorothy],” she said in 1982. “I watched the first episode and cried all the way through.”

This piece was an outgrowth of my work on a project of the New York Public Library for the Performing Arts to digitize Dorothy Loudon’s papers, which were donated to the Library following her death in 2003. I am also writing about Loudon for the Library’s blog.

As of this writing, the episode “Lies and Whispers” is available on Youtube, along with some clips from other episodes of Dorothy. The Paley Center for Media has copies of all four episodes in its collection.

October 13, 2009

Last month, writing about Wagon Train, I advanced the theory that long-running series sometimes wound their way into strange tangents that only a combination of ratings invulnerability and creative fatigue could explain. Now that all of Wagon Train’s seventh and penultimate season has been released on DVD, alongside a selection of episodes from all the others, there is ample opportunity to study that phenomenon in practice.

By its sixth season, Wagon Train had experienced the sudden death of one lead, Ward Bond, and the departure of the other, Robert Horton, to pursue other opportunities (mostly dinner theater, as it worked out). The actors who replaced them were not stars. Veteran supporting player John McIntire (then best known as the sheriff in Hitchcock’s recent hit Psycho) became the new wagonmaster, and blond ex-movie Tarzan Denny Miller took over as the train’s scout. I guess NBC figured that the real attraction was the guest stars, although by 1962, Wagon Train wasn’t even spending much money on those. Judging by the evidence on the screen, Wagon Train barely had enough money to get a completed film in the can. Episodes routinely opened with stock footage montages, overlaid with meaningless narration by McIntire, in a blatant move to pad their length. In one case, this drivel runs for a full six minutes before the show gets around to an actual storyline. I’m convinced that something so shockingly lazy could get on the air only in a “flyover show” – one so unhip and purely commercial that none of the network or studio executives in charge actually watched it.

In other words, after five years, Wagon Train was a case study of a show that had outlived every reason to endure other than ratings. Occasionally this creative exhaustion led to fascinating oddities like “The Abel Weatherly Story,” a January 1963 episode with a Twilight Zone-like flavor in which a shipwreck survivor (J. D. Cannon, very good) may or may not be haunted by the ghost of an artist he killed some years before. Robert Yale Libott’s script takes place, variously, in a New England whaling city, on a ship and then a deserted island, and finally in a small Kansas town – everywhere, in other words, except on the wagon train. McIntire and Miller do not appear at all; Cannon must make do with the show’s bit players as his interlocutors. I wonder how Wagon Train’s loyal audience reacted that week, confronted as they were with neither of the show’s stars, and nothing resembling its original premise.

Yuck: Art Linkletter and friends in “The Sam Darland Story.”

I enjoyed “Abel Weatherly” for its sheer strangeness, but a more typical example of Wagon Train’s sixth year was the preceding week’s outing, “The Sam Darland Story.” Sam Darland, played by Art Linkletter in a disastrous bit of stunt casting, is an evangelical layman who attempts to settle a ghost town, in hostile Indian territory, with no one other than a band of young orphaned boys. The one spinster (played by Nancy Reagan!) who ventures that the children should be removed from Sam’s care and adopted by the families in the wagon train is treated an antagonist rather than a voice of sanity. Religiosity abounds and, needless to say, a modern audience could not watch this show and view Sam as anything other than a deranged pederast.

In 1963, in an effort to imitate the successful The Virginian, Universal expanded Wagon Train from the sixty minutes it could barely fill to a whopping ninety, and began to film the show in color. Robert Fuller, fresh off the studio’s cancelled Laramie, joined the show as a rotating star, effectively demoting Scott Miller back to sidekick. The same production team, led by Howard Christie and comprised of a small pool of regular freelance writers (Norman Jolley, Steven Ritch, Gene L. Coon, Allen H. Miner) and directors (William Witney, Virgil W. Vogel, Miner), remained the same as during the previous season. There was no reason to hope that the changes in length and hue might give Wagon Train a shot in the arm, but somehow – and to my considerable relief, because the DVDs contain all thirty-two of these things – it did.

To skip straight to the top, Wagon Train produced one undeniable masterwork during its supersized year. This is “The Robert Harrison Clarke Story,” which features Michael Rennie as a master hunter (with a Sikh attendant, played by an unrecognizable Henry Silva) who tags along with the train in search of American game. Clarke hunts for sport, and the cowhands’ mechanical methods of rounding up cattle and slaughtering them for sustenance sicken him; at the same time, the westerners are put off by Clarke’s exoticism and veddy British hauteur. Brian Keith takes a small part as a world-weary cavalry scout, and his presence is a mystery until some of the parties end up trapped in a ruined fort, under siege by Indians. As this group contemplates its limited options, Gene L. Coon’s script turns into a thoughtful study of courage in the face of death. Clarke and the Americans, represented by Keith’s taciturn Sergeant Galt, come to accept their differences once they realize that they share a kind of Hawksian stoicism and masculine competence. At first Coon aligns our sympathies against the unbearably arrogant Clarke, but then he gradually redeems the character; it is Clarke’s fancy hunting rifle, seemingly useless on the rough-and-tumble frontier, which fires the shot of salvation.

John McIntire, Robert Fuller, and Michael Rennie in “The Robert Harrison Clarke Story.”

Coon, best known as one of the producers of Star Trek, was one of the finest writers of westerns during the fifties and sixties, and sort of a secret weapon for Wagon Train (even though he also claims credit for “Clyde,” the unsuccessful comedy that I mocked in my earlier post). Coon also wrote the seventh season’s premiere, “The Molly Kincaid Story,” which stars Carolyn Jones as a white woman reclaimed from captivity among the Indians. The story is familiar, but Coon treats the subject with a startling toughness, beginning with the gruesome facial scarring that Molly suffered during her ordeal.

After Coon, Wagon Train’s other noteworthy auteur was Allen H. Miner, one of the few freelance writer-directors to work as a hyphenate on a multitude of fifties and sixties shows without ever creating his own. (Douglas Heyes and John Meredyth Lucas, both overlooked talents, were among the others.) Miner’s segments tend to start off with a catchy premise and then lose their way, either through a gradual dissipation of narrative tension or a sharp left turn into conventionality. In “The Sam Pulaski Story,” Miner stages some effective comedy by dropping a trio of Runyonseque Brooklyn toughs into the old west, but the fun stops as soon as an element of genuine menace is introduced. “The Kitty Pryer Story” begins as a dark, perverse love triangle, then shifts into a more conventional tale of lovers (Diana Hyland and Bradford Dillman, both superb) on the run. Miner also wrote and directed the season finale, “The Last Circle Up,” which nostalgizes the camaraderie of the wagon train and suggests (without really explaining why) that the settlers may fall upon each other now that they’ve arrived at their destination. John Ford, in his westerns, often addressed these notions of community versus individualism, but Miner does not know what to do with them.

Some of the other ninety-minute segments work because of an inspired guest turn. Ronald Reagan, in one of his final acting roles, is surprisingly good as an army officer torn between his professional responsibilities and his duty to his alcoholic wife in “The Fort Pierce Story.” Peter Falk, marshalling a steely restraint absent from his Columbo-era persona, faces off against McIntire after leaving the wagonmaster for dead to save his brother’s life in “The Gus Morgan Story,” an episode that espouses an admirable commitment to reason over vengeance and anger. Even some of the failures are bizarre enough to hold one’s interest for an hour and a half. “The Widow O’Rourke Story,” for instance, casts Broadway star Carol Lawrence as an elderly Chinese woman who runs her western plantation with an iron fist; flashbacks, in which Robert Fuller assumes a second role as the red-headed sailor who purchased her from slavers, explain how she ended up so far from home.

Carol Lawrence and Robert Fuller in “The Widow O’Rourke Story.”

None of the ninety minute episodes that I’ve seen so far proselytizes as blatantly as “The Sam Darland Story.” But Jesus does make a cameo in enough of them to make me wonder if Christie had a message to send, and no qualms about using a wagon train instead of Western Union. “The Michael Malone Story,” written by my friend Gerry Day (who is in fact a devout Catholic), chronicles a priest’s crisis of faith without ever contemplating that the priesthood might not be right for him. (Personally, I was rooting for Michael Parks and Joyce Bulifant, one of television’s stranger romantic pairings, to blow off those vows and get it on.) “The Whipping,” bearable only due to Martin Balsam’s sensitive performance as a self-hating drunk, builds its story around the assertion that atheism and alcoholism are morally equivalent. (Faith and sobriety, we are told, are also interchangeable). The story’s climax contains an unambiguous miracle which, somewhat atypically for television, does not bother to offer an alternate, earthly interpretation of the events. At least the writer, Leonard Praskins, had the courage of his convictions.

That may sound like I’m anti-religion – and I am. But I’m capable of enjoying programs that examine faith with respect and intelligence, and from more than one point of view. Wagon Train does not take this approach; it simply turns preachy now and again. Commentators who actually believe we have a “liberal media” ignore not only the underlying truth that our media companies are all controlled by wealthy conservatives, but that there have always been popular television shows which espouse a semi-overt, pro-religious agenda. This is just as true today (this decade’s Joan of Arcadia was especially obnoxious) as it was in the era of Wagon Train. And then there’s the “new” Battlestar: Galactica. Watching the series’ finale this year, I was bemused to discover that the answer to many of that show’s long-running mysteries was, in essence: God(s) did it.

*

Continuing on with the third season of Ironside, one of my favorite undemanding popcorn shows of its era, I find it harder than ever to ignore the budgetary constraints that are so obvious on screen. Universal was always cheap, even going back to Wagon Train; those ninety-minute shows cut back and forth between outdoor locations and unconvincing soundstage “exteriors” in the same scene, with complete indifference to the jarring lack of resemblance between the two. But it wasn’t until 1969 or 1970 that the studio’s legendarily penny-pinching production department really clamped down, hobbling the efforts of even the most creative or defiant producers. Except for some second unit shooting, I don’t think Ironside left the backlot once during the whole season.

The nadir is “Good Will Tour,” a romance in which Eve (Barbara Anderson) gives a visiting prince (Bradford Dillman, sporting a stillborn mittel-European accent) a lengthy rear-projection tour of San Francisco. It’s a decent if slight script by another writer friend, the late Norman Katkov, but why on earth would the producers commission such a location-dependent story? Ironside overlapped with The Streets of San Francisco for three years of its original run (on the same night of the week), and I can’t understand how the contrast with the actual Bay Area locations of Quinn Martin’s superior cop drama didn’t get Ironside laughed off the airwaves.

On the other hand, I can report that Ironside returned partly to form in the latter half of its third season, offering a few of the traditional cop stories that distinguished its first two years. One such episode is “Programmed For Danger,” in which Ironside and undercover singleton Eve go up against a dating service operator cum serial molester (slick Roger Perry, well cast) who uses a punch-card computer to select his victims. Along with the computer, True Boardman’s script places an odd emphasis on gadgets like Ironside’s telephone answering machine and the portable cassette player that Perry carries along on his attacks. Did you have something you wanted to say about modern technology, Mr. Boardman? The message was clearer in that Twilight Zone where Richard Haydn gets taken out by a homicidal electric razor.

*

Also during my staycation I pulled down a pair of memoirs that had been gathering dust on the bookshelf for a couple of years: Richard L. Bare’s Confessions of a Hollywood Director (Scarecrow, 2001) and John Rich’s Warm Up the Snake: A Hollywood Memoir (University of Michigan Press, 2006). Bare and Rich (insert name joke here) were two of the very top television directors of the sixties. Their books complement each other in a rather amusing way.

Richard Bare directed the pilots for Cheyenne and 77 Sunset Strip, thereby launching both the western and detective cycles that swelled the coffers of Warner Bros. and ABC in the late fifties; he later helmed nearly every episode of another certified classic, the subversive Green Acres. John Rich directed the first three years of The Dick Van Dyke Show, and the first five of All in the Family. Before James Burrows, he was the undisputed king among sitcom directors. At his peak, Rich could command huge fees just for consulting on finished pilots and pointing out what was wrong with them. Rich’s brief association with Gilligan’s Island amounted to little more than that but, according to Warm Up the Snake, Sherwood Schwartz rewarded him with a ten per cent ownership of the series.

Rich has given a lot of interviews about Dick Van Dyke and All in the Family, but even if you’ve read or heard them already, his book offers a concise, revealing portrait of both series from a director’s point of view. Rich’s stories about shows with which he is less often associated, like Gunsmoke and MacGyver, have even more value. Unfortunately, Warm Up the Snake is padded with a lot of really stale jokes and anecdotes that have little to do with Rich’s own career, and those will be old news for most readers. There’s a whole chapter devoted to explaining odd industry terms like “M.O.S.” and the “Abby Singer shot,” and when Rich finally explains his title, it’s not exactly a gutbuster. (In fact, Walter Grauman, another veteran director, told me a much funnier story about defrosting a snake for a TV scene, which I will share one day.) Rich and Bare even recount one of the same old Hollywood jokes, about the director who ordered a crowd of spear carriers to “Lunge!” and instead the whole company went to lunch. But Rich says the director in question was Michael Curtiz, while Bare fingers Cecil B. DeMille!

Rich’s prose has an impersonal, smoothed-over feel to it, and he includes hardly anything about his childhood or non-professional life. The closest he comes to a confessional tone is a good-natured admission that he sometimes wielded a bad temper on the set. (He once broke his foot by kicking a chair during an All in the Family table read.) I found Rich’s reticence particularly disappointing, because I would haved liked to know more about his older brother, David Lowell Rich, a director of television dramas who did some fine work on M Squad, Route 66, and Kraft Suspense Theater. David Lowell Rich retired to my home town of Raleigh and, while I was in college, he drove me crazy by turning down repeated requests for an interview. After I sent him (without being asked) some tapes of his rarer shows, Rich thanked me and finally agreed to a meeting – but then died before my next trip back to Raleigh. I have heard, from several sources, that the Rich brothers did not get along, and that they were not on speaking terms for much of their adult lives. So I guess I’m not surprised that David receives nary a mention in John’s autobiography.

In contrast to Rich’s approach, Confessions of a Hollywood Director focuses mainly on Richard Bare’s personal life. He’s still in film school (at my alma mater, USC) on page 100, and when he gets to Green Acres around page 290, Bare has only a handful of anecdotes to tell. That may make the book sound as dull as unbuttered toast and, indeed, I wish Bare had chosen to share more about his contributions to Maverick and The Twilight Zone and The Virginian. But Bare’s memoir is so breezy and detailed, and his enthusiasm for old friends and childhood shenanigans so infectious, that I thoroughly enjoyed it. A Modesto native, Bare (whose childhood friends included George Lucas’s father!) was a true Zelig of the California coast, who stumbled into amusing encounters with everyone from Walt Disney to Dwain Esper to Langston Hughes to Marilyn Monroe.

Richard Bare is still with us, and his name made the rounds on the internet recently because his last birthday, on August 12, was alleged by many sources to be his one hundredth. Except that when I chatted briefly with Bare ten years ago, he insisted that he was actually born in 1913, and even named the reference book (Ephraim Katz’s The Film Encyclopedia) in which he felt the inaccurate date had originated. Bare expressed anger at the error, because he felt it had cost him work toward the end of his career.

At the time, I was convinced. But Confessions of a Hollywood Director gives no birthdate for Bare, and his narrative remains a bit, well, slippery on the subject. At one point Bare claims that he was nineteen in 1934, and a subsequent mention of his age also supports a 1914 or 1915 birth. If Bare was willing to cheat his age forward a little in the book, could he have been fibbing to me as well? In the book Bare states that Julio Gallo, the winemaker, sat next to him in an algebra class at Modesto High School. Gallo was born in March 1910, so either he was an unusually slow math student, or . . . well, with all due respect to Mr. Bare, let’s just say that I’d welcome a peek at his driver’s license.